Mary Poppins UK and Ireland Tour Review
A spoonful of theatrical magic makes the timeless classic a family delight
Which musical uses a 34-character word when it needs a way to say precisely what it means? It’s none other than the one starring everyone’s favourite nanny – Mary Poppins, who takes off on her magical umbrella and continues descending in venues across the country.
Based on the beloved 1964 Walt Disney film and the original children’s book series by P.L. Travers, the stories have brought plenty of joy to global households across the generations; adding to the iconic tunes from the Sherman Brothers, George Stiles and Anthony Drewe (also known for Honk!) completes the expanded musical material for the stage production, revitalising the nostalgia of the instantly recognisable notes into fully realised musical numbers in true Disney fashion.
Setting the scene in Edwardian London, informed by traditional Received Pronunciation used by characters throughout, Mary Poppins (Stefanie Jones, who reprises the role from the Australian tour, bringing along a strong, operatic voice and a charming personality) flies into 17 Cherry Tree Lane in answer to an unposted job advertisement, where the upper-class Banks family resides; taking the children, Jane and Michael Banks through their paces, Mary opens their world to a colourful new perspective and influences everyone she encounters – sternly but always perfectly, as per her signature style – about manners, empathy and always finding the joy in everyday life. Julian Fellowes’ light-hearted book, though includes slapstick and sometimes references Greek mythology without an extensive link, peers into the world through a child’s lens while not undermining the whimsical imaginations of young minds.
The 20th anniversary production is in safe hands, helmed by an esteemed directorial team; Richard Eyre’s elaborate staging is complemented beautifully by dazzling choreography from Matthew Bourne (also Co-Director) and Stephen Mear, both established creatives in their own right; while James Powell and a team of associate creatives reimagine the crowd-pleasing spectacle for the tour, kept afresh by the resident team Alexander Sims (Director), Yves Adang (Choreographer) and Danielle Delys (Children’s Director) – it is the collaborative effort that makes the production all the more impressive.
Under the baton of Musical Director Isaac McCullough, the twelve-piece orchestra (once again, impressive on a touring scale) brings to life William David Brohn’s lush orchestrations, springing into one toe-tapping tune after another that has the audience humming on the way home. Mary’s handbag would overflow with too many memorable songs to name individually, but the showstopper always belongs to Supercalifragilisticexpialidocious (and breathe–), whilst slowed numbers such as Let’s Go Fly a Kite bring out smiles from the heart in both children and adults alike.
Playing opposite Jones (whose aria battle with Wendy Ferguson’s antagonistic Miss Andrew is unexpected but hilarious) is the wonderfully energetic Jack Chambers (Bert), who follows in the footsteps of those before him in rising to the famously demanding role with a wide smile; minimal spoilers here, but Step in Time thrillingly highlights how physically capable Bert and the company are (from moving statues to chimney sweeps), tapping away to the ever-accelerating tempo; young adults and grown-ups will also appreciate more vocal prowess from Patti Boulaye (Bird Woman) and Sarah-Marie Maxwell (understudy Winifred Banks).
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Technical marvels on display in this production no doubt reflects the touring sector at its best – alongside Paul Kieve and Jim Steinmeyer’s cleverly executed illusions, Bob Crowley’s towering scenic pieces are painted with splashes of colour by Hugh Vanstone’s lighting design, but the most eye-catching of all must be performer flying work utilised sparingly but spectacularly, drawing the show to a close on cloud nine.
To describe this production as a tour de force may be an understatement, but in words each less than 34 characters, the show takes regional venues to literal new heights that many in the audience would not have realised was possible, bringing forth to wherever the wind blows next a perfect theatrical delight for the whole family – some might even say, practically perfect!
★ ★ ★ ★ ★
Mary Poppins plays at Birmingham Hippodrome until 23 August, then touring until January 2026. Find more information and all venue listings on the production website.
Tickets and Accessibility
🎟️ Tickets were kindly gifted by the venue, with expectation of an honest, non-biased review. All opinions remain those of the writer, without any input or approval from the producers or venue. Standard ticket pricing varies by venue, with tickets for the Birmingham leg available from £25.
♾️ The production features flashing lights, loud music and noises, and scenes that may startle young children. Specific sensory moments (with spoilers) are as follows: